D&AD The Commercials Book 1997

The book is about “directors whose first loyalty is to the film medium rather than the client and product.” (Simonds-Gooding in D&AD, 1997, p.6).

“As Orson Welles once put it, “a director is one who precides over accidents.”” (Simonds-Gooding in D&AD, 1997, p.6).

Commericals as well as feature film directors: “Both are in the seduction business. Both are looking to create visual images that steal up on you quietly, subtly winning you over, shifting your attitudes and working away at your emotions.” (Puttnam in D&AD, 1997, p.9).

“A great thing about animation is that audiences know that every tiny detail is hand-crafted, that nothing happens by chance or accident. This helps us enormously because it means that people are that much more attuned to picking up detail than they might be when they watch live action.” (Aardman in D&AD, 1997, p.10).

“Why do painters paint and paint and paint and end up killing themselves? Because they never do anything they genuinely love. They just keep going and keep trying and that’s the way I work.” (Aardman in D&AD, 1997, p.17).

“’The irony is that the whole thing is a psychological game. A game that tries to capture a piece of the consumer’s mind evoking feelings for the clients ad products we advertise.” (Ng in D&AD, 1997, p.100).

“I am never attracted to the ads themselves. I’m attracted to the game. I enjoy the mind game we play with ads. Trying to understand how the consumer’s mind works is the secret.” (Ng in D&AD, 1997, p.100).

“Advertising is art with a motive.” (Ng in D&AD, 1997, p.101).

“I’m often asked why I only do funny spots.

For me humour has a way of keeping things in proportion; it’s not creating this thing where one’s saying “hey buy our toothpaste, perfume, shoes, whatever; you’ll be more popular, happier richer, and life will be more meaningful.” I know this stuff sells but it’s always made me squirm,.” (Sedelmaier in D&AD, 1997, p.116).

“There are no gags in my spots. The humour comes from characters who are either trying to keep their cool in a crazy situation, or in denial that they’re even in a crazy situation.” (Sedelmaier in D&AD, 1997, p.117).

“I’ve heard people in the business say, “look, it’s just a commercial.” I think, whatever takes up your day you damn well better get some satisfaction out of it – or you’re just another putz.” (Sedelmaier in D&AD, 1997, p.117).

“I know it’s a cliché, but it’s like when Picasso was asked how he dared to charge so much money for a painting that only took 30 minutes. He answered that it actually took hi 45 years and 30 minutes. (…) You’re paying for a whole life.” (Tarsem in D&AD, 1997, p.117).

William Shakespeare – King Henry The Sixth Part 1

I started to read the complete works of Shakespeare – and why wouldn’t I? But it’s a long way to go.

“Glory is like a circle in the water,

which never ceaseth to enlarge itself,

Till, by broad spreading, it disperse to naught.

With Henry’s death the English circle ends;

Dispersed are the glories it included.” (Shakespeare, p.4).

“Is this the Talbot, so much fear’d abroad,

That with his name the mothers still their babes?” (Shakespeare, p.9).

“This late dissension grown betwixt the peers,

Burns under feigned ashes of forged love,

And will at last break out into a flame.” (Shakespeare, p.15).

The Branded Gentry – Vallance and Hopper 2013

A book about British people who gave their name to their brands. Although it was not that much of an exciting read, it contains really interesting stories and quotes by the entrepreneurs:

“’E-mail is a monologue and I prefer telephone dialogue,’ he (Lord Bell) says.” (Vallance and Hopper, 2013, p.31).

“One of the things I’ve been trying to learn is avoid being co-dependent; to stop imagining that other people’s behaviour determines your life. You have to stop trying to control other people’s behaviour, which you can’t do.” (Vallance and Hopper quoting Lord Bell, 2013, p.34).

“He explains how, when things are going badly, he tries to be the first to take responsibility: a kind of fault-owning from the front. He says he hates blame culture ab defensive behaviours. Hence, he likes upwards appraisals, where junior staff give feedback on seniors.” (Vallance and Hopper, 2013, p.56).

“I’ve got a lot of parallel lives unlived, but you suddenly realise it’s probably not going to happen. It’s the inherent sadness of ageing …” (Vallance and Hopper quoting Emma Bridgewater, 2013, p.64).

“When you find something that works, you can absolve yourself from decision making. I’m keen on not having to make decisions all the time.” (Vallance and Hopper, 2013, p.76).

“The trouble wth then being an entrepreneur is that you never think you’ve finished. You’re always thinking of things you haven’t done.” (Vallance and Hopper, 2013, p.77). “I’ve built a switch off mechanism (…). I can remember the horror of sleepless nights I’ve had. Sometimes, you have to sort of use an escape like fiction; theatre is very good; cinema is brilliant; cinema and alcohol are very effective.” (Vallance and Hopper, 2013, p.77).

The “bits of America (…) that nobody ever visits. (…) It fills me with an enormous sense of a life unlived: the vastness of America; the opportunity and the stimulation of it.” (Vallance and Hopper quoting Emma Bridgewater, 2013, p.80).

“I’ve always said that if you don’t love yourself, you can’t be loved by others, and then you’ll look for love in all the wrong places.” (Vallance and Hopper quoting Kackie Cooper, 2013, p.98).

“the key to entrepreneuship is (…) the ability to make something out of a difference.” (Vallance and Hopper, 2013, p.103).

“Never got back in debt. Never. Debt brands you and it’s all pervasive and you don’t have any control.” (Vallance and Hopper quoting Jackie Cooper, 2013, p.103).

“being the outsider. (…) Everyone else is a stranger, so you become strange.” (Vallance and Hopper, 2013, p.113).

“like the psychology of the race, because you have to accelerate when you feel the most tired, because that puts off all the other runners.” (Vallance and Hopper quoting Sir James Dyson, 2013, p.118).

On trying to please his Japanese partners: “He became known as the large, smelly, unattractive gaijin. (…) ‘They will bever like you’, he says, so you have to stop being  so desperate to please them. (Paul Smith would take a small train set into meetings with Japanese businessmen, and would begin to play with it when he got bored. Of course, they just assumed that this was normal gaijin behaviour, no less insanely Western than eating Cornish pasties or peeing in the bathtub, si ut never mattered much.” (Vallance and Hopper, 2013, p.125).

On ideas: “If you can have one (…) you can have a thousand and one, or an infinite number; and that is the sudden realisation of confident certainty. Shouting at people is a lack of confidence; a sign of panic that you think you can only do a fixed number of ideas and then you’ll dry up.” (Vallance and Hopper, 2013, p.139).

On never presenting creative material in the pitch: “’If we really believed in the superiority of our creative product, we shouldn’t give it away for free.’” (Vallance and Hopper quoting Hegarty, 2013, p.141).

Enthusiasm: “a point about the etymology of the word, which, he (Hegarty) explains, literally means being with God.” (Vallance and Hopper, 2013, p.143).

“My father always told me that he had given me the best education that money could buy, but he could not leave me any money – and I told him that I was deeply grateful for it being that way round.” (Vallance and Hopper quoting Hsicox, 2013, p.154).

“’Your representative owes you, not his industry only, but his judgement; and he betrays, instead of serving you, if he sacrifices it to your opinion.’” (Vallance and Hopper quoting Hiscox quoting Burke, 2013, p.160).

“I’m still not a good sleeper. I don’t know if it’s to do with worrying. I do find that little things become monstruous at night.” (Vallance and Hopper quoting Hiscox, 2013, p.162).

 “If we made some money as we went along, all well and good, but it’s the wine itself that gives you the reward …. That’s where it starts and finishes.” (Vallance and Hopper quoting Laithwaite, 2013, p.171).

 “I knew the danger: the job always changes you and you never change the job. (…) You’ve got to somehow keep your purity but still get your income, even when each pulls you in an opposite direction. (…) So I decided to earn money on five days of the week selling fabrics and suits, and keep the purity of the stuff I wanted to sell for the Friday and Saturday.” (Vallance and Hopper quoting Sir Paul Smith, 2013, p.263).”

“Dear Paul, I don’t like fashion but I like you.” (Vallance and Hopper quoting Sir Paul Smith, 2013, p.270).

“When you get there, there’s no there there.” (Vallance and Hopper quoting Warburton, 2013, p.290).

The Kraus Project – Jonathan Franzen 2013

One of the best looking books I own. This works against its ideas, but it is fantastic looking and it feels great to own it. 

“Even now, Germany insists on content over form, if the concept of coolness had existed in Kraus’s time, he might have said that Germany is uncool. (…) It doesn’t even matter what you’re creating on your MacBookAir. Simply using a MacBookAir experiencing the elegant design of its hardware and software, is a pleasure in itself, like walking down a street in Paris. (…) As Kraus says of Germanic life, the PC ‘sobers’ what you’re doing; it allows you to see it unadorned.” (Franzen, 2013, p.9). “Die romanische Kultur macht jedermann zum Dichter. Da ist die Kunst keine Kunst. Und der Himmel eine Hölle.” (Kraus in Franzen, 2013, p.12).

“The restlessness of who or what is considered hip nowadays may be an artefact of what Marx famously identified as “the restlessness” nature of capitalism. One of the worst things about the Internet is that it tempts everyone to be a sophisticate – to take positions on what is hip.” (Franzen, 2013, p.10). “But the actual substance of our daily lives is total electronic distraction. We can’t face the real problems, we spent a trillion dollars not really solving a problem in Iraq. (…) Our situation looks quite a bit like Vienna’s in 1910.” (Franzen, 2013, p.14).

“The logic says that if we want things like Zappos.com or home DVR capability – and who wouldn’t want them? – we need to say goodbye to job stability and hello to a lifetime of anxiety. We need to become as restless as capitalism itself.” (Franzen, 2013, p.141). “Denn der Verstand verstand nicht, daß er mit Entfernung vom Geist zwar innerhalb der Generation wachsen konnte, aber die Fähigkeit verlor, sich fortzupflanzen.” (Kraus in Franzen, 2013, p.142). “I don’t mind technology as my servant; I mind it only as my master.” (Franzen, 2013, p.142).

“But read feullitons closely and you’ll see that they are the opposite of personal. Feuilltons are mass-produced, fast-moving, and seriously addictive commodities that are overrunning the space in which actual literature is read, and undermining the ability of newspaper readers to develop their own imaginative responses to the news – or anything else, for that matter.” (Franzen, 2013, p.33). “the feuilleton resembles the blog even more closely. (…) we’re experiencing a re-emergence of the problems that Kraus was fixated with: the ascendance of an impressionistic journalistic form that has institutional cachet but is of questionable quality as both reportage and self-expression.” (Franzen, 2013, p.44).

“Er glaubt an den metaphysischen Weg des Gedankens, der ein Miasma ist, während die Meinung kontagiös ist, also unmittelbarer Ansteckung braucht, um übernommen zu warden.” (Kraus in Franzen, 2013, p.88). “Alles Geschaffene bleibt, wie es da war, eh es geschaffen wurde. Der Künstler holt ein fertiges vom Himmel herunter. Die Ewigkeit ist ohne Anfang.” (Kraus in Franzen, 2013, p.88). “Wissenschaft ist Spektralanalyse; Kunst ist Lichtsynthese. Der Gedanke ist in der Welt, aber man hat ihn nicht.” (Franzen, 2013, p.90).

“Bei Artisten ist jeder Grundsatz unzulässig, denn diese sind Meister des Wortes, handhaben es zu jedem beliebigen Zwecke, prägen es nach Willkür (…) Und die Masse von Autoren, die dem Wort gehorchen, gibt es leider nur spärlich. Das sind Künstler. Talent haben die anderen.” (Franzen, 2013, p.128).

“Fünfzig Jahre läuft schon die Maschine, in die vorn der Geist hineingetan wird, um hinten als Druck herauszukommen, verdünnend, verbreitend, vernichtend. Der Geber verliert, die Beschenkten verarmenen, und die Vermittler haben zu leben.” (Kraus in Franzen, 2013, p.146). “For Kraus, the infernal thing about newspapers was their fraudulent coupling of Enlightenment ideals with a relentless and ingenious pursuit of profit and power.” (Franzen, 2013, p.146).

“Kraus fought to keep open space for the imagination by campaigning against the modern things that got in its way: the feuilleton with its addictive, and thus lucrative, offering of prepackaged emotional responses to the news; (…) But another part of Kraus’s response was to promote Enlightenment in the Kantian sense. (…) to see writing as the result of mystical submission to language.” (Franzen, 2013, p.155).

“Nestroy hat aus dem Staat in die Welt gedacht. Heine von der Welt in den Staat. Und das ist mehr. Nestroy bleibt der Spaßmacher, den sein Spaß, der von der Hobelbank zu den Sternen schlug, kam von der Hobelbank, und von den Sternen wissen wir nichts. Ein irdischer politiker sagt uns mehr als ein kosmischer Hanswurst.” (Kraus in Franzen, 2013, p.162). “Wenn Kunst nicht das ist, was sie glauben und erlauben, sondern die Wegweite ist zwischen einem Geschauten und einem Gedachten, von einem Rinnsal zur Milchstrasse die kürzeste Verbindung, so hat es nie unter deutschem Himmel einen Läufer gegeben wie Nestroy.” (Kraus in Franzen, 2013, p.164).  “Dieser völlig sprachverbuhlte Humor, bei dem Sinn und Wort sich fangen, umfangen, und bis zur Untrennbarkeit, jab is zur Unkenntlichkeit halten.” (Kraus in Franzen, 2013, p.182).

“Die angeschaute Realität ins Gefühl aufgenommen, nicht befühlt, bis sie zum Gefühl passe Man könnte daran die Methode aller Poeterei, aller Feuilletonlyrik nachweisen, die ein passendes Stück Aussenwelt sucht, um eine vorrätige Stimmung abzugeben.” (Kraus Franzen, 2013, p.200).

“Was hat Nestroy gegen seine Zeitgenossen? Wahrlich, er übereilt sich. Er geht antizipierend seine kleine Umwelt mit einer Schärfe an, die einer späteren Sache würdig ware.” (Kraus in Franzen, 2013, p.246). “Daß der Zweck das Mittel ist, das Mittel zu vergessen.” (Kraus in Franzen, 2013, p.246).

“Die Organe dieser Zeit widersetzen sich der Bestimmung aller Kunst, in das Verständnis der Nachlebenden einzugehen. Es gibt keine Nachlebenden mehr, es gibt nur noch Lebende, die ein große Genugtuung darüber äußern, daß es sie gibt, daß e seine Gegenwart gibt, die sich ihre Neuigkeiten selbst besorgt und keine Geheimnisse vor der Zukunft hat.” (Kraus in Franzen, 2013, p.252).